Robert Johnson

1911 năm 5 nguyệt 1 ngày Robert Johnson sinh ra ở bang Mississippi Hazelhurst. 1914 năm cả nhà dọn đến Memphis, thẳng đến 1918 năm, hắn cha kế đem hắn đưa đến Robinsonville phụ cận Abbay and Leatherman gieo trồng viên. Hắn ở nơi đó bắt đầu cùng vì một ít lão nhạc tay hát đệm, cũng đi theo Willie Brown khắp nơi biểu diễn. Không lâu Brown hợp tác giả Charley Patton đi vào nơi này, Johnson liền đi theo hai người bọn họ cùng nhau biểu diễn. 1930 năm Son House rời đi Parchman nông trường đi vào Robinsonville, hắn đàn ghi-ta diễn tấu thật sâu ảnh hưởng Johnson, làm hắn từ bỏ biểu diễn cầm lấy đàn ghi-ta. House cùng Brown hợp thành một cái dàn nhạc, đi đến Memphis giáo đường công viên biểu diễn kiếm lấy tiền boa, Johnson cũng đi theo bọn họ. Biểu diễn rất nhiều, bọn họ tụ ở bên nhau uống rượu thời điểm, House, Brown cùng Patton sẽ cười nhạo hắn tay mơ đàn ghi-ta kỹ thuật, vì thế người thanh niên này rời đi Robinsonville trở lại Hazelhurst.
Hazelhurst tới gần bang Mississippi Crystal Springs, trứ danh đàn ghi-ta tay Tommy Johnson liền ở tại nơi đó. Robert Johnson ở nơi đó kết hôn. Hắn trừ bỏ luyện đàn ghi-ta, còn đi theo máy quay đĩa học tập tân ca, hắn mê muội với cũng bắt chước địa phương một vị đàn ghi-ta tay Ike Zinnerman. Vài tháng lúc sau, Johnson về tới Robinsonville, cũng hướng mọi người triển lãm xuất thần nhập hóa đàn ghi-ta kỹ thuật, còn có hắn học được rất nhiều tân ca ( đến từ bao gồm Lonnie Johnson, Skip James, Peetie Wheatstraw, Scrapper Blackwell cùng Kokomo Arnold chờ nổi danh ca sĩ ), mọi người kinh ngạc với hắn tiến bộ, có người tin tưởng hắn cùng tương ngộ ở ngã tư đường, dùng linh hồn của hắn đổi về đàn ghi-ta thiên tài. Tuy rằng Johnson ca đều là phiên xướng với người khác, nhưng hắn giao cho chúng nó một loại mê mang, cô độc cùng thiên cầm cảm giác. Tựa hồ mỗi cái blues nhạc tay đều thích lưu lạc ( là thiên tính hay là là vì mưu sinh? ), Johnson đồng dạng không ngoại lệ, hắn khắp nơi biểu diễn, đi khắp Trung Quốc và Phương Tây bộ, Đông Hải ngạn thậm chí Canada, mỏ than, ngầm quán bar, bến tàu cùng tiểu lữ quán đều lưu có hắn dấu chân, như vậy cũng khiến cho hắn biểu diễn sinh ra nhất rộng khắp ảnh hưởng.
Robert Johnson trong cuộc đời cộng lục quá hai lần âm, lần đầu tiên là 1936 năm 11 nguyệt, địa điểm là bang Texas San Antonio, lần thứ hai là 1937 năm 6 nguyệt, địa điểm là bang Texas Dallas, kia đều là không gì sánh kịp ghi âm.
Hắn thành công ngưng hẳn với một năm sau một lần trúng độc ( mọi người cho rằng là một cái thê tử bị Johnson câu dẫn chủ tiệm hạ độc ), sau đó không lâu hắn liền rời đi nhân thế, đó là 1938 năm 8 nguyệt 16 ngày. Hắn bị mai táng ở bang Mississippi Greenwood Mt. Zion mộ địa, sau bị di đến Mt. Payne mộ địa.
If the blues has a truly mythic figure, one whose story hangs over the music the way a Charlie Parker does over jazz or a Hank Williams does over country, its Robert Johnson, certainly the most celebrated figure in the history of the blues. Of course, his legend is immensely fortified by the fact that Johnson also left behind a small legacy of recordings that are considered the emotional apex of the music itself. These recordings have not only entered the realm of blues standards (Love in Vain, Crossroads, Sweet Home Chicago, Stop Breaking Down), but were adapted by rock & roll artists as diverse as the Rolling Stones, Steve Miller, Led Zeppelin, and Eric Clapton. While there are historical naysayers who would be more comfortable downplaying his skills and achievements (most of whom have never made a convincing case as where the source of his apocalyptic visions emanates from), Robert Johnson remains a potent force to be reckoned with. As a singer, a composer, and as a guitarist of considerable skills, he produced some of the genres best music and the ultimate blues legend to deal with. Doomed, haunted, driven by demons, a tormented genius dead at an early age, all of these add up to making him a character of mythology who — if he hadnt actually existed — would have to be created by some biographers overactive romantic imagination.
The legend of his life — which by now, even folks who dont know anything about the blues can cite to you chapter and verse — goes something like this: Robert Johnson was a young black man living on a plantation in rural Mississippi. Branded with a burning desire to become great blues musician, he was instructed to take his guitar to a crossroad near Dockerys plantation at midnight. There he was met by a large black man (the Devil) who took the guitar from Johnson, tuned it, and handed it back to him. Within less than a years time, in exchange for his everlasting soul, Robert Johnson became the king of the Delta blues singers, able to play, sing, and create the greatest blues anyone had ever heard.
As success came with live performances and phonograph recordings, Johnson remained tormented, constantly haunted by nightmares of hellhounds on his trail, his pain and mental anguish finding release only in the writing and performing of his music. Just as he was to be brought to Carnegie Hall to perform in John Hammonds first Spirituals to Swing concert, the news had come from Mississippi; Robert Johnson was dead, poisoned by a jealous girlfriend while playing a jook joint. Those who were there swear he was last seen alive foaming at the mouth, crawling around on all fours, hissing and snapping at onlookers like a mad dog. His dying words (either spoken or written on a piece of scrap paper) were, I pray that my redeemer will come and take me from my grave. He was buried in a pine box in an unmarked grave, his deal with the Devil at an end.
Of course, Johnsons influences in the real world were far more disparate than the legend suggests, no matter how many times its been retold or embellished. As a teenage plantation worker, Johnson fooled with a harmonica a little bit, but seemingly had no major musical skills to speak of. Every attempt to sit in with local titans of the stature of Son House, Charley Patton, Willie Brown, and others brought howls of derision from the older bluesmen. Son House: Wed all play for the Saturday night balls, and thered be this little boy hanging around. That was Robert Johnson. He blew a harmonica then, and he was pretty good at that, but he wanted to play a guitar. Hed sit at our feet and play during the breaks and such another racket youd never heard. He married young and left Robinsonville, wandering the Delta and using Hazelhurst as base, determined to become a full-time professional musician after his first wife died during childbirth. Johnson returned to Robinsonville a few years later and he encountered House and Willie Brown at a juke joint in Banks, MS; according to House, When he finished all our mouths were standing open. I said, Well, aint that fast! Hes gone now! To a man, there was only one explanation as how Johnson had gotten that good, that fast; he had sold his soul to the Devil.
But Johnsons skills were acquired in a far more conventional manner, born more of a concentrated Christian work ethic than a Faustian bargain with old Scratch. He idolized the Delta recording star Lonnie Johnson — sometimes introducing himself to newcomers as Robert Lonnie, one of the Johnson brothers — and the music of Scrapper Blackwell, Skip James, and Kokomo Arnold were all inspirational elements that he drew his unique style from. His slide style certainly came from hours of watching local stars like Charley Patton and Son House, among others. Perhaps the biggest influence, however, came from an unrecorded bluesman named Ike Zinneman. Well never really know what Zinnemans music sounded like (we do know from various reports that he liked to practice late at night in the local graveyard, sitting on tombstones while he strummed away) or how much of his personal muse he imparted to Johnson, if any. What is known is that after a year or so under Zinnemans tutelage, Johnson returned with an encyclopedic knowledge of his instrument, an ability to sing and play in a multiplicity of styles, and a very carefully worked-out approach to song construction, keeping his original lyrics with him in a personal digest. As an itinerant musician, playing at country suppers as well as on the street, his audience demanded someone who could play and sing everything from blues pieces to the pop and hillbilly tunes of the day. Johnsons talents could cover all of that and more. His most enduring contribution, the boogie bass line played on the bottom strings of the guitar (adapted from piano players), has become part-and-parcel of the sound most people associate with down-home blues. It is a sound so very much of a part of the musics fabric that the listener cannot imagine the styles of Jimmy Reed, Elmore James, Eddie Taylor, Lightnin Slim, Hound Dog Taylor, or a hundred lesser lights existing without that essential component part. As his playing partner Johnny Shines put it, Some of the things that Robert did with the guitar affected the way everybody played. Hed do rundowns and turnbacks. Hed do repeats. None of this was being done. In the early 30s, boogie on the guitar was rare, something to be heard. Because of Robert, people learned to complement theirselves, carrying their own bass as their own lead with this one instrument. While his music can certainly be put in context as part of a definable tradition, what he did with it and where he took it was another matter entirely.
Although Robert Johnson never recorded near as much as Lonnie Johnson, Charley Patton, or Blind Lemon Jefferson, he certainly traveled more than all of them put together. After his first recordings came out and Terraplane Blues became his signature tune (a so-called race record selling over three or four-thousand copies back in the early to mid-30s was considered a hit), Johnson hit the road, playing anywhere and everywhere he could. Instilled with a seemingly unquenchable desire to experience new places and things, his wandering nature took him up and down the Delta and as far a field as St. Louis, Chicago, and Detroit (where he performed over the radio on the Elder Moten Hour), places Son House and Charley Patton had only seen in the movies, if that. But the end came at a Saturday-night dance at a juke joint in Three Forks, MS, in August of 1938. Playing with Honeyboy Edwards and Sonny Boy Williamson (Rice Miller), Johnson was given a jug of moonshine whiskey laced with either poison or lye, presumably by the husband of a woman the singer had made advances toward. He continued playing into the night until he was too sick to continue, then brought back to a boarding house in Greenwood, some 15 miles away. He lay sick for several days, successfully sweating the poison out of his system, but caught pneumonia as a result and died on August 16th. The legend was just beginning.
In the mid-60s, Columbia Records released King of the Delta Blues Singers, the first compilation of Johnsons music and one of the earliest collections of pure country blues. Rife with liner notes full of romantic speculation, little in the way of hard information and a painting standing for a picture, this for years was the worlds sole introduction to the music and the legend, doing much to promote both. A second volume — collecting up the other master takes and issuing a few of the alternates — was released in the 70s, giving fans a first-hand listen to music that had been only circulated through bootleg tapes and albums or cover versions by English rock stars. Finally in 1990 — after years of litigation — a complete two-CD box set was released with every scrap of Johnson material known to exist plus the holy grail of the blues; the publishing of the only two known photographs of the man himself. Columbias parent company, Sony, was hoping that sales would maybe hit 20,000. The box set went on to sell over a million units, the first blues recordings ever to do so.
In the intervening years since the release of the box set, Johnsons name and likeness has become a cottage growth merchandising industry. Posters, postcards, t-shirts, guitar picks, strings, straps, and polishing cloths — all bearing either his likeness or signature (taken from his second marriage certificate) — have become available, making him the ultimate blues commodity with his image being reproduced for profit far more than any contemporary bluesman, dead or alive. Although the man himself (and his contemporaries) could never have imagined it in a million years, the music and the legend both live on.